HOTEL ONE.

Wednesday, 28 October 2009

So, last week we were given a brief to design a hotel for a progressive Scottish tourism market. Our class has been divided into four groups which are based on star rating ( Either 3 star of 5 star) and location (either Rural or Urban) . For example, I was given 3 star Rural, which I'm pretty happy about because I see it as more challenging than a 5 star, regardless of the fact that 5 star has more requirements and specifications. However, given a 3 star hotel doesn't hinder me from being creative or block me from choice of material.

Pictures to follow of our trip to the rural hotel in Inverary from last week.

Friday, 16 October 2009

I have drawn a detailed sketch of how I believe this handrail is put together with the glass side panels. At the side, I have created the impression of cutting the side of

the handrail, and then in the middle of the sketch, I wanted to show how each layer sits on top of each other. The extruded tubular steel handrail sits on top of the glass panel, however, I believe there is a rubber grip channel which is glued on as it ensures sturdiness and it also prevents the glass from breaking.

Thursday, 8 October 2009

Start off by arranging a general collection of researched images. They should reflect or represent a general idea of what you are aiming to achieve in the finished output. It is an integral part of what you have as final decisions. You begin the actual design process after this with the decision of where certain elements will be contained within the interior. Materials and furniture choice comes later when your design has developed into something definitive. It should be kept in mind to think of balances of the interior. Are you deciding on functionality over aesthetics, or practicality over irrationality?

As mentioned in my previous post, you should always constantly create ideas and you should never take the first one that comes to mind to the design process. Further your flow of creativity to the best of its ability. Here you are able to identify and eliminate the more obscure or unnecessary elements which tend to distract from what you aim to achieve. Eliminating unnecessary or unrealistic ideas which have no beneficial impact helps to keep you on tract and not to distract yourself away from the project. However, consider the possibility that you may use the unused ideas for later enhancement into something more feasible. These ideas will also signify your progression from something primitive to something very complex, so do not discard them. They could be valuable in the next few years!

Until your design is functional, you should then consider the alteration of certain elements, which could play an integral part in the psychology of the space. They may also help to emphasize these elements to a standard which you did not set out to create. Consider, also, the possibilities of alternative routes as you may discover that you like something else instead or believe that it is more effective in captivating the user. Decisions of the overall look should be rooted from your research, or at least be a source of your central inspiration. Part of the design process is challenging yourself to the best of your ability but also to surprise yourself as to what you thought you were incapable of doing previouisly. Your final output could be a complete contrast from what you set out to create, but in the process it should essentially be to your satisfaction, keeping in mind that it also serves its purpose for the intended user.

It is a balance of incorporating originality into a space that rightfully serves its purpose. The way in which you design is a reflection through your work. It is exploited in a way that is irreversable once it is there. Therefore it is essential that, so long as you keep in mind that the interior is suitable for functional use, that your originality becomes favourable to the market who intend to use it. If an interior is too ambiguous and people do not instantly know what purpose it serves then it becomes irrelevant; thus becoming obsolete; regardless of the time and labour which went into it.

If you are a good designer, you will be aware of this from the beginning of the design process. A well thought out design requires time, research and patience.

The psychology of a space plays an integral part in Interior Design. It is important that the client finds the space to be comfortable, accessible and doesn't provoke negative emotion; keeping in mind that it can also be visually captivating.

A good interior is about balancing the necessary and eliminating the irrelevant. You don't want something that clutters or distracts what you want the user to see. Never settle for the first idea or ideas because they enable you to develop new ones and further a flow of creativity. Here you are able to identify and eliminate the more obscure or unnecessary elements which tend to distract from what you aim to achieve.

From a public perception, it could be said that a good interior is one that follows the tradition of being spacially acceptable, one that is sustainable and one that serves a functional purpose. However, from a designers perspective, it should also leave a lasting impression; aging with beauty, originality and dignity. For a designer to have created something that is considered a timeless masterpiece is an achievement.